Posts Tagged ‘soundcloud’

I don’t know if this could have made me any more excited for Schoolboy Q‘s album Oxymoron. February 25th can’t come soon enough. I remember hearing Schoolboy in an interview saying that he wants to remind everyone that gangster rap is not dead. On the contrary, its thriving, especially when you have someone as articulate as Schoolboy spitting about crack slangin’ and gun toting.

Alchemist impresses yet again, nothing new there.



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Definitely one of those beats that I just imagine myself strolling in a bustling city on a sunny day. I’m not going to lie, the only reason I found this was because I jumped at the sight of seeing Atmosphere tweet that Slug was featured on a new track. It’s not often you get to hear Mr. Minnesota spit a new verse, and he just does what he does. But, if you buy this song, all proceeds go to charity, and you’ll feel good about the song too.


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Absolutely cannot wait for the album.

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Last night, let’s say I was feeling woozy, I was rambling to a fellow hip-hop head and had to articulate the unique style of the Flatbush Zombies to one who doesn’t know anything about them. What came out was, “imagine if A Tribe Called Quest was doing lots of acid and were darker and scarier”. I don’t mean to sound off on my own quote, but I rather like that description. In the two primary MC’s – Juice and Meech, I noticed a contrast in vibes and sound reminiscent of the off-setting styles that belonged to Phife Dawg and Q-Tip. I mean, yeah, someone could go way more in depth into that to prove me wrong, but I just like that I have an articulation of my own.

The new mixtape from the crazy trio was so much more than I hoped for and expected. They are back with better beats, more confident, more experimental sounds, and with better bars. No, they are not politically correct, but you all should know by now that that could not mean less to me/we/us.

Download their new mixtape BetterOffDEAD here.

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B.o.B. has long been MIA. Now, that lame pun is out of the way, we can proceed to the music. There hasn’t been much B.o.B. on Beatspill, and it seemed he had fully ridden his wave of internet buzz. Maybe that’s why he was one of the people who heard Kendrick Lamar‘s verse on “Control” and immediately put out a response track – he was coming up for a breath…but he came off looking rather desperate for attention since he was never mentioned in the verse.

The first line, and the next few for that matter, reminded me instantly of Lupe Fiasco‘s opening words on his 2011 release “Words I Never Said”. A shockingly unexpected, politically-criticizing, politically-sobering onslaught caught my attention. His first words are “Seems like since we got a black president/black people stopped questioning the government/and that ain’t no diss to Barack either”.  He doesn’t stop there, going on to dig up the realities of who the real villains are in the world, in plain English.

I know that activist-rap is nothing new, but I think that in the revival of B.o.B.‘ s career, it hits peculiarly hard.

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My boss would love that I’m posting this. I’ve learned loads about hip-hop from him this summer, and one of his most avid pushes manifested in the story of R.A. The Rugged Man. In his opinion, he is one of the best rapping, least known MCs ever, and I would have to agree after listening to this album. In a few, succinct words, R.A. has had a hard time being signed to labels because of his “buckwild, violent, dangerous” personality, which is a reason he was never a household name.

(I don’t think I need to address the triangular dynamic that Masta Ace and Brother Ali bring to this track, anything I were to say would sound redundant.)

No matter how or why he isn’t on the tongue of many hip-hop heads, this album is a breath of fresh air into the older hip-hop heads who haven’t got an ounce of faith that good hip-hop isn’t being made anymore. While it’s true that its only a little satisfying because R.A. is from a previous generation of hip-hop, the real win is that he has younger hip-hop heads such as myself talking about and sharing his message, like this very post you read now.


Legends Never Die

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An immediate chill went up my spine looking at Tech N9ne and Kendrick Lamar on a track together, so I dove in headfirst. I was surprised at the down-tempo beat; I expected something much more dark and fast. But then after some beautiful vocals by Kendall Morgan and ¡MAYDAY!, Tech busts in with his classic , iron bars that make you perk up and listen to his convictions and feelings of journalism and ignorance. The anticipation of Kendrick’s verse was tenser still, because I knew it would have to be something rough and raw to match the intensity of what Tech brings to the song. Kendrick did just that. He ripped up the verse, melding some of his faster, more aggressive styles with the Tech N9ne approach. This is the way that seemingly distant artists can make a great track, catering to the feels and vibes of the home artist to pay respect to them, and also to push their own confined boundaries.

This track just has every level of hip-hop enjoyment: silky vocals, cooling beat, a seasoned veteran, and the young blood recognizing. I could use more of this.

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So I was giving Indigoism a run through again today, and had the mixtape on shuffle. I was vibing particularly hard to “Leopard Shepard” and “So Devilish” as they came on consecutively, and with a little added attention, I found they shared production credits to one Dreamrite. I thought I’d check out his page and just scrolled down a little and picked a random song. One was all I needed to know that I had to do a write-up on this guy. This beat has a lot of familiar samples, and sounds like a meshing of Pretty Lights (with the erratic, electronic sounds mixed with samples) and Party Supplies (sounding like all his samples are being belted out on an MPD). A true collage of sounds to say the least, but far and away different from “Plateau”, a calmer, smoked-out vision that you would have a hard time believing is from the same mindset. Give ’em a listen.

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I can’t believe that I am just stumbling across this track now, four months after it’s release. Both of these dudes still can’t legally drink or rent a car, but they are two of the absolute best in the game right now. Chance the Rapper had an insta-impressive effect on the music world with Acid Rap, but he still has to bolster his discography to get up there. Joey Bada$$ on the other hand has solidified his spot as one of the top three in the game, and he’s even younger than Chance.

Download it!

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Yeezus might be the strangest album I’ve heard in a very long time. This track starts off with a soft, brooding 808s & Heartbreakstype bass and then picks up throughout the rest of the song, with occasional drop-offs to better hear the incredible vocals of Justin Vernon, better known as Bon Iver. The track has some darkly sonic-sounding interludes and Ratatat-esque electric guitar twangs. Chief Keef also pushes the 808s & Heartbreaks feel with the autotune hook  that is rap-sung by someone who just sounds weirdly good with it. Overall, apart from verses with the annoying alarm sound every bar, I think this song is pretty cool.

I know it’s not Kanye of old, but I also know that hearing an opening verse by Bon Iver followed by a contrasting verse by Chief Keef is mind-blowing. The two of them represent two of the opposite poles of the musical spectrum, and I think this is something that we should take into consideration when hearing this album — Kanye is experimenting, probably why the album is less than 40 minutes long. With every experiment, there are bound to be some failures, is this one or not?

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